Noel Mckoy 2010

The UK’s Original Soul Troubadour

Having been at the forefront of the genre for over 30 years, Noel Mckoy has earned the right to be acknowledged as the ‘Godfather of UK Soul.’ The Dood caught up with the polite and engaging singer, composer and instrumentalist at his London studios in W10 to chart his career to date, discuss his new album ‘Brighter Day’, get a detailed insight into the 1990s ground breaking and unsung super group ‘That Fuss Was Us’ and garner his thoughts on the UK music scene in general ahead of his much anticipated Jazz Cafe gig on October 13th 2010.

The Dood: How old were you when you got started in music?

Noel Mckoy: I was thirteen. I made my first record when I was fourteen and it was a Lover’s Rock tune called ‘The people.’ I was in a band called ‘The Albians’ which we formed at my secondary school called ‘Spencer Park.’ It was a comprehensive school in Wandsworth. Prior to that though, I was taught guitar by my sister’s ex-husband. He was in a band called Matumbi, who were quite well known, with Dennis Bovell and people like that. This was when I was a kid, about twelve. Eaton (Blake) his name was. He was the bass player in Matumbi. He taught me how to play guitar and sort of fused my interest in music. I was always into singing because of my mum.

The Dood: I was going to put that to you? Did you have any parental influences on your singing?

Noel Mckoy: My mum was a singer and her sister was a singer in the sixties, here in the UK. But it was a short term thing for my mum because she had the children – there were seven of us.

The Dood: That’s a brood man!

Noel McKoy: Yeah! So she couldn’t pursue her love, but the family and I carry it on.

The Dood: Where do you fit in?

Noel McKoy: I’m kinda like in the middle. I’d say I’m third youngest. Anyway, that’s how I got started in music.

The Dood: Who inspired you in your early career?

Noel Mckoy: Obviously my mum was a big inspiration, and my dad and my elder sisters. Big influences are people like Eaton Blake and Dennis Bovell. I did my apprenticeship with these guys….Obviously, there’re other musicians/artists/peers like Stevie Wonder, Frank Sinatra, The Beetles, Chaka khan and Rufus. Dennis Brown was a big influence and the late great Sugar Minott. Sugar Minott was a big influence too. I remember I got to meet him and tell him how he inspired me, and we had a good old chat. It was a few years back.

The Dood: As an individual was he a nice person?

Noel McKoy: Yeah…Because I had seen him on many, many occasions but never got to meet him on a one to one – we were in a room just chatting for a little while. It was nice, I’m glad I met him. I always loved his song writing and melodies as well…There were many others as you can imagine.

The Dood: So your influences are diverse, from Frank Sinatra, through Stevie Wonder aka ‘Mr twenty people in one’, to Sugar Minott? Did you fashion your vocal style on any of these guys?

Noel Mckoy: Yeah, I sort of learned a lot of my licks from Stevie, the Isley Brothers, Earth, Wind and Fire. Those kinds of artists – that’s how I learned about different textures of voice. Philip Bailey had great vocals! Also Pat Kelly, the Reggae singer, he was a falsetto. I was always interested in the falsetto until my voice broke, obviously it was very high.

The Dood: So you must have loved the ‘Blue Magic’s’ and ‘Ray, Goodman and Brown’s’ and ‘Chi-Lites’ of this world?

Noel Mckoy: Yeah! These kinds of people and obviously the great Mr Curtis Mayfield…Another person who inspired me vocally, who I met in L.A just by chance, was Jeffrey Osborne. When he was in LTD I used to be really into that band. I met him and told him how he inspired me as well.
A lot people often say to me that I sound like another of my vocal inspirations – Frankie Beverley.

The Dood: And lyrically?

Noel Mckoy: Lyrics come from Stevie (Wonder). A lot of my song writing apprenticeship…was listening to his songs – studying them. Studying the structure, arrangements, melody…My top line is melody; I’m very good with melody. I can always come up with a melody to any kind of tune. With lyrics – subject matter wise a lot of my lyrics are about humanitarian subjects. So Stevie comes into it because he fits the whole thing, politically etc. I love ‘Songs in the Key of Life.’ A classic!

The Dood: Omar is into his Stevie as well and said ‘The Secret Life of Plants’ album inspired him immensely.

Noel Mckoy: ‘Secret Life of Plants’ as well, of course. That showed another side to his song writing there too. He’s like so many of us musicians – as you said earlier, he’s like twenty people in one! So he’s a big influence on my lyrical content. And Dennis Brown – Big time!

The Dood: The tune that I first came aware of you was the song you did with your family, called ‘Family.’ It’s a tune with a potent subject matter, but it also has that hook so people get into it, then they start listening to the words and message…

Noel McKoy: Yeah, they realise there’s a story going on.

The Dood: ….How did that song come about?

Noel Mckoy: The song came about through various people who I knew who were going through some tribulations in their relationships…The song just came about by chance. I was on the train travelling somewhere and the melody and hook line came, ‘Families need their fathers.’ Everything was there, I didn’t have a pen or a paper or a dict-a-phone. I remember i was going to a luncheon meeting. I kept singing the melody and lyric in my head and as soon as I got to the meeting I wrote the lyric down….We had the meeting and I hoped that after the meeting the melody would still be there, and it was…I had just got my studio at the time, so I went there and recorded some lyrics.

The Dood: What year did you write the track?

Noel Mckoy: I wrote that in 1989/1990.

The Dood: Were you happy with the response to the tune?

Noel Mckoy: I was very happy because…I had tried to get some funding and some backing because I wanted to put it out on my own. That is track is a track which just has that feel good vibe, and any time we do it people just respond. You have to do it as well, it’s not a song I ever get fed up of singing…I’ve got some great mixes of it that have never been heard.

The Dood: How did you achieve the ethereal sounding harp on the production?

Noel Mckoy: That was achieved using an Adagio (keyboard). It was a sample. Robert Norton (keyboards), who is classically taught, his fingering is really good, and so he managed to play the keys quickly enough to give the effect of a harp. Yeah, it was a harp sample as I remember.

The Dood: Expand further on the early days and singing with the likes of Mica Paris, Vanessa Simon, Juliette Roberts, and Omar etc?

Noel Mckoy: Those times were good because there was a renaissance of UK Soul. I think they tagged it as ‘Street Soul’ at the time. We had so many good singers and bands from Manchester and across the country….The duets I did with those guys were mainly live. My duets with Mica were always done live. With Vanessa I’ve sung live, but also done studio recording on one tune.

The Dood: I recall that even the Americans were big on UK Street Soul because it had its own style and flavour.

Noel Mckoy: Of course! They took that flavour i.e. the bass and the drum element. Obviously ‘Soul II Soul’ being one of the biggest exponents of that kind of sound…And then after that all of them (US artists) came out with it – Missy Elliot etc. It was a real healthy time for UK music. We were partying at the same clubs. It was a real refreshing, hungry vibe. We were competing, but on a nice level, we were together all of the time…It was a really strong scene. I remember Bobby Brown’s party….it was like everybody from the UK scene was invited. It was in a disused warehouse, because it was around the time of Rare Groove and Norman Jay…It was good party, the way they put that together, it was amazing!

The Dood: Three letters for you – JTQ.

Noel Mckoy: JTQ was good for me obviously, because that’s how I got my props on the scene. Acid Jazz was moving up at the time. Shake’n’Finger Pop was around that time, The Pasadena’s. So the JTQ thing just happened by chance – I was looking for a deal for my own stuff and went to Polydor. A guy called Kieron was there A&Ring for Polydor and Acid Jazz. I knew of Acid Jazz and he asked me if I had heard of JTQ. I hadn’t heard of them. He said they were looking for a singer, because they’re mainly an instrumental band. I did the audition and the first gig I did with them was in Japan.

All their songs were instrumentals, so I just wrote songs with a melody and structured them in two rehearsals. I didn’t know these guys but I went out to Japan and that was the beginning of something. Their music was good, they were good musicians obviously. Their style was retro. It wasn’t what I was thinking of doing for myself…but I like experimenting. Then after six years we dropped the JTQ album. It was good experience. It launched me and put me on the map.

The Dood: You did a track with Snowboy I believe, a cover of ‘Lucky Fellow?’

Noel Mckoy: Yeah, via JTQ was how I met him. So he said, ‘Noel can do a tune for me, it’s a song by Leroy Hutson?’

The Dood: Right, the new album – ‘Brighter Day.’ Would you agree that funnily enough it does have that ‘retro soul’ feel to it?

Noel Mckoy: Definitely! Definitely!

The Dood: It’s got a touch of the Stevie’s, Marvin’s and Curtis’ going on. How much did working with Ian Levine and Bluey influence the final product?

Noel Mckoy: I’ll tell you the truth, it didn’t…I was working with Ian Levine on various compilations and maybe over a two month period I recorded six songs with Ian and Scott who has now passed. I’ve dedicated the album to him. He was a producer who worked with Ian. I had about four songs at the time. Around that period I was writing and doing vocals for a library album, which was a retro album as well….This was with ex JTQ members – Gary Crocket who was their bass for many years and Dominic Glover who also used to be the trumpet player and MD for Incognito and many other bands. He’s a top session player.

So Dominic, his brother and Gary (Crocket) had a production company and produced these retro library albums for Universal Records. They asked me to write lyrics to these songs. And within say two months I had all this retro stuff that I had done for Ian (Levine) and Gary. So I said to myself, put the songs back to back – that’s eight tracks. I added a couple I had already to that vibe and I had an album! So I started to play it to people as my new album, just to see what the response would be. The response was positive and good, so we went with it! It took a while, because alongside that I was writing an album which was completely different. I’ve now finished that album also….It’s a more McKoy kind of vibe, hip-hop beats with live soulful elements going on. That was the album I was really working on.

The Dood: So why release Brighter Day?

Noel Mckoy: I got a deal on it (Brighter Day) via America and Sweden. It was a company/label called Tri Sound. Tri Sound/Imaani is partly my label. They help me out with licensing, hiring PR and radio marketing here (UK). It got me a lot of props on Radio Two and Radio Three and Radio Four. I did a lot of live sessions with Mark Lemaar. That led onto the Latitude Festival. So there were a lot of plusses.

Regarding Bluey’s input the last track we did came via him because I was working with Bluey and had done a few projects with him. I said to him, ‘Oh! I’ve got this retro album, would you like to contribute a track?’ He said, ‘yeah!’ So him and Ski Okenfull came up with a backing track, I wrote some stuff to it, went to Bluey’s studio and he had some lyrics done already. He said, ‘it’s called ‘Jealousy.’ I said, ‘that’s interesting because I’ve got a song called ‘Jealousy’ which I wrote a long time ago!’ So we talked about the effects of jealousy and we were on the same page. We were dealing with jealousy along the lines of man and woman…so we were already on the same page. So the song just came naturally and we did it so quick.

The Dood: Those are the best ones. It’s like mixing up a cake in five minutes which tastes delicious.

Noel McKoy: Yeah! It was one of those ones! So that’s how that song made the album.

The Dood: Are you happy with the final product?

Noel McKoy: I’m happy with because I didn’t really plan it. It’s a funny record because I did it like four years ago – I compiled it like four years ago and it’s out now. It actually came out November 2009. I’ve got the single ‘Jealousy’ coming out with thirteen mixes and I’ve been A&Ring that since the beginning of this year (2010). I’m just waiting for the master which I get tomorrow, and then I send it out to the world. Then I’m gonna re-promote the album, because not a lot of people know about ‘Brighter Day.’ It was promoted within Radio One and Radio Two territory, which is good for royalties. I’ve already made good money on it from radio play. People like Craig Charles, people like Mark Lemaar I mentioned earlier, people like Claudia Winkleman.

The Dood: So you use those royalties to fund the other projects you’re doing?

Noel McKoy: I don’t know about fund! I’m not making that kind of money! These people are championing my record, like Lynn Parsons. These people are saying, ‘let’s get this record on the play list.’ It didn’t quite happen with the album, that’s how it works. So that’s why I thought let me give them a single, I’ve give them so many mixes and see if I can get a play listing with that. I’ll get the play listing and then I can start making some money.

The Dood: Two steps back, before you can take three steps forward right?

Noel Mckoy: You do have to do that sometimes. So that’s my strategy.

The Dood: That’s interesting. Most people don’t understand the process of getting a record on a radio stations playlist and the day to day runnings. Most people only view from the outside looking in.

Noel McKoy: Yeah the day-to-day business of running an artist. I’m not just an artist, I’m a label, and I’m the MD. I do the whole thing. I have a couple of people who help me out but the buck ends with me.

The Dood: You had a tight band that played with you at Abbeyfest this year. I believe the band leader and trumpet player is a guy by the name of Colin…?

Noel McKoy: Colin Markland. He’s been with me the longest…He’s the one who deals with all the day to day affairs when I’m not around.

The Dood: Did you grow up with various kinds of music played in your house from Calypso through Classical to Soul, Funk, Pop, Reggae and Jazz as I did?

Noel Mckoy: Yes I did but not so much of the Classical.

The Dood: I recall, a while back, when I interviewed The Roots when they released their ‘From the Ground Up’ EP and Questlove mentioned they were planning a Classical/Hip-Hop album.

Noel McKoy: Let me give you something here about The Roots. Do you remember Steve Williamson, the saxophonist?

The Dood: Of course!

Noel McKoy: He brought them over here. We were in a band called, ‘That Fuss Was Us’ which was compiled of me Steve Williamson, Tony Remy, Pete Lewinson, Steve Lewinson and Darren Abrahams on Drums and Thomas Dyani on Percussion. It was just a little musician’s band/project. I didn’t even write lyrics proper, I just made the lyrics and those lyrics became the songs. We would play the Jazz Cafe and various venues around the world. We would play in France etc. We would be touring just off the back of people talking about it. It was a very experimental time, where Steve (Williamson) would have an Atari computer on stage with these beats he had programmed. Then he would start playing his sax over it. Dennis Rollins (Trombone) was in that band as well. That’s how I met Dennis Rollins. This band was like an elite outfit.

The Dood: What year was this?

Noel McKoy: Your talking about ’92/’93.

The Dood: That band spawned a lot of talent?

Noel Mckoy: All the players from that band were established in the Jazz world. All of those musicians have gone on to do the pop stuff. All of those musicians bar Darren Abrahams. However, Tony and the Lewinson brothers, they do everything from the Spice girls to Annie Lennox to Craig David. All the big pop stuff which comes out of the UK, they’re the guys who do those sessions. Anyway, my point is we went to Japan and did an amazing two hour set there non-stop! We’re like a cult band, people keep asking, ‘When are you going to get back together?!’

The reason why we never got back together was because when we did Japan we got a deal with Mercury Records. Well Steve got the deal, it was his deal. So he got the deal and we recorded the album at a place called RAK Studios in St John’s Wood. Do you know it?

The Dood: Oh man! That’s where I interviewed The Roots around 1991/1992!

Noel Mckoy: Why was the interview at that place?

The Dood: Simply because their PR company arranged it for there.

Noel McKoy: That’s interesting! The reason they were there is because we were recording. It was for Steve Williamson.

The Dood: My days!

Noel McKoy: It must have been, because it was about ’91 and they weren’t known. They were only known to people like you whose on the underground…I might be wrong but it was around that time. The point of the story is this, when Steve got the deal, we recorded at RAK. He then has this idea to bring over The Roots. Like you, I knew of The Roots. If you followed the underground music scene you knew The Roots but they weren’t known as widely as there are today. So he had the idea to bring over The Roots to play on some of the tracks….However, certain members of our band believed we had put a lot of time and effort into that band for nothing, because we believed we were a part of something called ‘That Fuss Was Us.’ It wasn’t just Steve Williamson at all, as bad a musician that he was. And he was great! We had been together for about a year and a half. It wasn’t that long but the impact we made was massive.

Anyway, he brought in The Roots and the bad vibes began, because Steve and Pete Lewinson decided not to record on the album, nor did Tony Remy. So most of the band didn’t record on that album and it was called ‘Journey to Truth.’ It features all The Roots band and it features Jhelisa Anderson and various others. They used a lot my songs and cut out some songs as well. I tell you we were a phenomenon! And you know to this day he’s a broken guy because he knew it was the wrong move. Because The Roots as good as they are, they didn’t have the vibe that we had. We were bringing our vibe which was ‘That Fuss was Us’. They weren’t ‘That Fuss Was Us!’ They were The Roots coming to do ‘That Fuss Was Us’ music, which we established.

I sang on two or three tracks from that album. The truth of the matter is I had 11 amazing songs on there. I think ‘Black Planet’ is on it. Our gigs were memorable and lots of today’s established musicians would always state that we were the band that inspired them…So you know we had something special. And the irony of it is look at where The Roots are today.

I’m like the only one who will talk to him and I sang on two or three tracks from that album. The truth of the matter is I had 11 amazing songs on there. I think ‘Black Planet’ is on it. Our gigs were memorable and lots of today’s established musicians would always state that we were the band that inspired them…So you know we had something special. And the irony of it is look at where The Roots are today.

The Dood: Yeah, people view them as the premier live and recording outfit.

Noel Mckoy: Personally, I went to see them at The Forum back in the day. I said to them, ‘Ahh! You’re doing well now?!’ This was when there were more established. And they were a bit too far up their own arse. I didn’t really check for their spirit and the way they carried on – I never did…Especially the rapper Tariq, I never checked for his spirit…But the point of the matter is Steve messed up, because the album didn’t sound good. It didn’t sell! It didn’t sell because they (The Roots) were session musicians. They’re good but they didn’t do the music that we composed with the love, so it’s not gonna work! I don’t even know where that album is…It may be in my loft at home somewhere.

It’s a shame because really do like Steve Williamson, I got on with him. But boy! Poor thing! Those things will haunt you for the rest of your life if you’re not strong. What he should’ve done was say, ‘Listen I wanna meet up with everybody individually.’ He should’ve had a dinner and invited everybody to come. Because we all still wanted to do it after a few years, we all got over it. You know Steve (Lewinson) and Tony (Remy) and that lot where still up for it, even though they were big session players in their own right now…If we were to put that band together today and announce it on Facebook, even now we would get thousands of people hitting us. It’s a band a lot of people knew of.

As I said, they’re all-stars – Thomas Dyani, Pete and Steve Lewinson, Tony Remy, Darren Abrahams, the brother on trombone Dennis Rollins and Steve Williamson. It would be phenomenal! All musicians would come and watch, all those Jazz men – Wayne Batchelor etc. And that great pianist Jason Robello played with us.

The Dood: The line up sounds like a band that never existed, but if asked people would love to see on stage together?

Noel Mckoy: It was an all star Jazz band! All those guys know each other from the Jazz Warriors. But this was a funky vibe, it was Jazz but it was funk’d! Then I brought the subject matter: Black Planet, Evol Love – love spelt backwards. And we just messed about with lyric play. It was a fun thing to do. I did a lot of dancing in that band because obviously we a lot of instrumental tracks. So I would dance to the music and that was as captivating as the songs themselves. It was something that was new to me. I would spend half of the set dancing as well as doing the songs. It was that kind of a set. I lost enough pounds doing that set…But it was a good vibe, because I was established with JTQ and McKoy.

The Dood: So you were in a very creative place?

Noel McKoy: Yeah, it was a very good place! And it was such a shame that he (Steve Williamson) went and did that deal, because it was inevitable. We knew we would get a deal because everywhere we went people were going crazy. And then he had to go and bring in The Roots! So there’s a story for ya!

The Dood: Okay! So let’s talk about UK artist from yesteryear and present day – Keni Stevens, Lavine Hudson, and Paul Johnson etc. Where are they now?

Noel Mckoy: Lavine Hudson boy! That was one voice I had respect for. I met her at Virgin Records across the way here and I told her so.

The Dood: And Keni Stevens?

Noel Mckoy: Keni Stevens I keep in touch with. He lives up Luton/Milton Keynes way.

The Dood: For real! I still remember a couple of his albums, ‘Blue Moods’ and ‘You’

Noel Mckoy: Yeah, he’s a great guy! I got back in touch with Keni Stevens the year before last (2008); I got some gigs from him, because he books acts now a lot. I still see him. He’s behind ‘Drizabone’ as well, he helped out with the new Drizabone album, and I think he’s got a track on there.

The Dood: And Paul Johnson?

Noel Mckoy: I’ve known him from time. I don’t just know these guys professionally and I know them personally as well. People like Junior Giscombe, our families grew up together in Clapham. And if you’re not aware, Paul Johnson came via Junior Giscombe. He was in a Gospel band and it was Junior who produced his first album and introduced him to Sony. So I got to know Paul via Junior and when I used to run my Dutch-Pot night, he used to manage a guy called Shaun Escoffery.

The Dood: Yeah, ‘Days Like This’ and ‘Space Rider’ etc.

Noel Mckoy: Shaun Escoffery was a person who I broke on my club night called The Dutch-Pot (named after the Caribbean cooking pot – the more you cook in it, the better the food taste). We did it once with a guy called Geoffrey Williams who had the same publisher…Geoff used to do the night regular with us. The night was about providing a platform for singer/song writers.

The Dood: When was this?

Noel Mckoy: This was about ‘96/’97 when I started The Dutch-Pot at the Subterranean. It was every fortnight and then it went monthly.

The Dood: So you gave up and coming artist an outlet for their talent?

Noel McKoy: Yeah. With Shaun, Geoffrey Williams brought him in and they did a song together. He was really great! Great voice – wow! And then I asked him if would like to do The Dutch-Pot and he did it three times. The second time he did it; Paul Johnson was there and said he manages him. He said he would like to do a showcase, so we organised it. Everybody came from the whole scene to see the showcase and that was it, he got the deal with the people from Sony. They signed him from that.
So we broke Shaun Escoffery and I’ve never heard him ‘Big’ us up, The Dutch-Pot, never! It would have been really nice. He may have, but I was looking out for that…We definitely launched that guy called Shaun Escoffery. I know all of those tunes before they were produced in the way they are. A lot of the songs when he did them at The Dutch-Pot, he did them in a more World Music style. It wasn’t so dark and for me it was better. I preferred it that way.

The Dood: What next for Noel McKoy?

Noel McKoy: Next for Noel McKoy is this new album, this dance album which I told you about.

The Dood: No title as yet?

Noel McKoy: No, because it’s like a project…We’ve got a working title called ‘AM Dusk.’ So the BPM’s start from two to four, four to ten, so you’ve got all the different tempos.

The Dood: Okay!

Noel Mckoy: It’s dance music but with a nice live twist! We’ve got horns, strings, and a thirty piece orchestra.

The Dood: So where are you recording that?

Noel McKoy: In Sweden.

The Dood: Nice! Who are the personnel on the album?

Noel Mckoy: People on the album – Derek McIntyre, bass, a guy called Max Goodyear on saxophone and Colin Markland on trumpet and Anton on keyboard. The drummer is Francesco Mandolia. The same line-up we had at Abbeyfest. They’ve all contributed to this, except for the bass player.

The Dood: Who of the current crop of artist are you checking for at the moment?

Noel McKoy: Obviously I like Maxwell. He’s on it right now. There’s an artist I’ve been working with, she’s Bashy’s sister, the rapper Bashy. He’s the one who did that track ‘Black Boys’, it was a Grime tune which caused a lot of controversy. He’s worked on a couple of films, Kidulthood abd Adulthood. He’s done very well for himself. But he has a sister called Cookie. She’s a really good singer and the singer I’ve been working with…But in terms of people who are out there, I can’t even give you a name. I like that song by B.O.B – ‘Nothing on You’ (Noel sings the hook line). It’s a big tune! And they’ve got another tune, ‘Airplanes,’ which is another nice song. It’s a rap but it reminds me of Arrested Development. It reminds me of old Hip-Hop how it used to be, so that’s refreshing to hear.

There’s another girl called Sherry Davis who’s very good. She’s somebody I’ve worked with as well. She’s our version of Alesha Keys; she’s a very very talented woman. She’s a pianist and singer/song-writer. She rehearses here, she’s recorded here. She’s very good. So I would say those are the artist I would big up.

The Dood: From that signed disc on the wall, I’m beginning to understand the breadth of your writing ability?

Noel McKoy: That was for a song I wrote for Cliff Richard on one of his albums.

The Dood: So get royalties for that still?

Noel McKoy: Oh yeah! I write for a lot of things…I wrote the song for the Commonwealth Games. 1994 BBC Commonwealth Games, I wrote the theme and sung it as well with a male Gospel group called The Wades. I got them to sing background vocals. And I also write themes for TV and Film and stuff.

The Dood: Scores and the like?

Noel Mckoy: Yeah, that’s what keeps me in the game. It’s not the live work or recording, it’s my writing. I used to write a lot for people when I was published, but these days I haven’t written much. I’ve just been producing…I’m producing an album for an Italian artist called Kiara. It’s more of a Pop/Reggae kind of album. That’s out at the moment in Italy. These are the things which keep money coming in, that keep me going.

The Dood: What is about music that grips you?

Noel Mckoy: You get that feeling! And I think that is what Soul music and music in general means to me. I like it to have a message personally and then the feeling that follows as well. I love music with a message.

The Dood: What about live dates?

Noel Mckoy: I’ll give you one date. It’s the 13th October at the Jazz Cafe and I’ll be doing some tracks from the new album ‘Brighter Day’ there.

The Dood: Awesome! I look forward to the Noel McKoy live experience.

Michael ‘The Dood’ Edwards

Noel Mckoy and Michael ‘The Dood Edwards

Noel McKoy – Essential Live Date:

Essential Albums:
Brighter Day (2009/10)
Please Take This Personal (1998)
Mind Is the Keeper (1997)
Full Circle – With a Social Soul (1993)

Essential Single: ‘Jealousy’ (Out now in multiple mixes including Ski Oakenfull’s mix)

Essential Websites:

Astral Travelling Since 1993